Anna sat approvingly in the front row and backstage, there were congratulatory hugs from Hamish while British Vogue editor Alex Shulman told him he’d ‘pulled it off’ and Salma Hayek told him it was an ‘amazing’ collection.
Christopher Kane himself was grinning broadly, telling The Daily Beast that although he had been feeling the pressure following his move to sell a 51 percent stake in his business to luxury behemoth PPR (Pinault-Printemps-Redoubte), the money had made all the difference.
“Obviously the financial benefits have been so rewarding. It means you can really focus on the creative side. But we are grafters. We have to work hard. And they (PPR) really respect the integrity of the creative process. They want to nurture that. Every season is pressure. Every season you need to up it. I am always upping it and willing to work harder. But it does help having money and resources.”
Alex Shulman told the Daily Beast: “I thought the show was a real triumph because it was so rich in ideas, and he combined making clothes you really wanted to wear with a feeling of total excitement. He is a brilliant show designer, but not just a show designer because there are clothes there you want to buy. There are millions of jackets and clothes I want! I don’t often feel this enthusiastic. It was an amazing show from the very first look. And each time you thought he had got to the end there was another idea coming out.”
Indeed it was, a show full of energy, awash in fur, velvet, luxe combat prints and delicious deep plums and purples. The models walked a 500 metre catwalk all around the top floor of an unfinished London skyscraper to a thumping rock beat.
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